The Apple iPod(c) has deeply penetrated not only the popular music market, but also the Western cultural consciousness with remarkable rapidity---and has even given rise to talk of an qiPod generation.q Drawing on fifteen in-depth interviews with university undergraduates, this work examines the day-to-day practices of iPod users and advances the idea that they may engage in new practices that manage states of affectivity in order to experience a qtechnics of the selfq that can potentially exceed given discourses and create contingent configurations that are open to a more indeterminate world. Interview data suggests that in networks of purchase, circulation, and exchange, iPod users employ tactics of control and separation to negotiate the terms and conditions of connection; and as users move through urban spaces, both the external marker of the device's earphones and the internal soundscape they represent offer new opportunities for the tactical management of social proximity.Like even maybe even a couple of years ago I wouldna#39;t have ever considered listening to as much classic rock as I do now, like Zeppelin, like the Doors, ... I dona#39;t know, thata#39;s how ita#39;s happened for me. ... I mean Ia#39;ve got musicals on my iPod.
|Title||:||IMusic/myMusic: The Apple IPod(c), Circuits of Digital Music Distribution, and Technics of the Self|
|Author||:||Walter Douglas Crigler|
|Publisher||:||ProQuest - 2008|